Interdisciplinary Description of Complex Systems 17(2-A), 282-293, 2019 THE HUMANIST VISION IN NEOREALIST FILMS: THE CIRCULARITY OF INFLUENCES IN WORLD CINEMA Saša Vojković* University of Zagreb – Academy of Dramatic Arts Zagreb, Croatia DOI: 10.7906/indecs.17.2.5 Received: 11 April 2019. Regular article Accepted: 11 June 2019. ABSTRACT When we observe the influence of neorealism, in the first instance we need to consider its humanist vision which implies that we cannot rely on elements and aspects of the narrative but we have to rely on extratextual information – i.e., information which surpasses the narrative text. I will discuss examples of world cinema that have appropriated the humanist vision of neorealism and the ways in which this vision affects the structuring of the fabula. This can be seen most prominently in Chinese, Iranian, Indian, African, Mexican and Taiwanese films (especially the films of Hou Hsiao Hsien). The point of departure (and I am following Mieke Bal here) is that the fabula, even more generally than the syuzhet makes describable a segment of reality that is broader than that of narrative texts only. Fabulas always make describable segments of reality that are broader than that of narrative texts only, but in the case of neorealist films this is more pronounced. The specificity of the fabula in neorealist films is its reliance on extratextual information as well as its reliance on the focalized world view. The relation between the subject that perceives and that which is perceived invests the story with subjectivity. By the same token focalization cannot take place without the act of narrating. Considering that the narrational process presupposes a text, or rather a medium such as film through which the story is narrated, it is impossible that the viewers perceive the narrated content directly. That content is subjectivized, represented, framed, filtered through a specific vision. In this concrete text we can speak of the humanist vision. KEY WORDS humanist vision, narrative, world cinema, fabula, focalization CLASSIFICATION JEL: D83 *Corresponding author, : [email protected]; +385 1 48 28 506, +385 1 48 28 507; *Academy of Dramatic Arts, Trg Republike Hrvatske 5, HR – 10 000 Zagreb, Croatia * The humanist vision in neorealist films: the circularity of influences in world cinema INTRODUCTION In contemporary cinema there is an intensification of intercultural influences, of the circularity of agents, subjectivity, style, and genre. An increasing number of films generate intercultural, discursive, and analytical spaces which need to be explored. At stake is the continuous displacement of filmic styles, which inspires us to create new ideas about filmic worlds, about ourselves, and about others. The emphasis is placed on stylistic specificities, iconography, and narrative representation. This enables us to recognize a double or even triple exchange between different film cultures, traditions, and national cinemas. When it comes to circularity of influences, the film movement that proves to be the most influential is Italian neorealism. Here I will discuss the notion of “world cinema”, providing examples of world cinema that have appropriated the humanist vision of neorealism and the ways in which this vision affects the structuring of the fabula. It is important to note that this essay is an interdisciplinary endevour, it involves both filmology and narratology. THE FILM’S FABULA AND THE HUMANIST VISION When we observe the influence of neorealism, in the first instance we need to consider its humanist vision, which implies that we cannot rely only on elements and aspects of the narrative, but that we have to rely on extratextual information – that is, on information that surpasses the narrative text. The point of departure (and I am following Mieke Bal here) is that the fabula, even more generally than the syuzhet, makes describable a segment of reality that is broader than that of narrative texts [1]. This segment of reality applies especially to neorealist films – the aesthetic-moral agenda of neorealism includes a political engagement, a social conscience, and most importantly, a humanist vision. Themes such as post-war unemployment were part of what made neorealism a “realist” cinema, while the fact that it did not use professional actors but faces from the crowd made it a “poetic” cinema as well [2]. Fabulas always make describable segments of reality that are broader than that of narrative texts only, but in the case of neorealist films this is more pronounced. The essence of original neorealism is typically presented through the work of Vittorio De Sica and Cesare Zavattini. Zavattini believed that the most important achievement of neorealism was the fact that it brought the lives of ordinary people to the cinema screen. According to Zavattini, the aim of neorealism is to discover the “everydayness” of human lives. Here we can recognize the influence of Zavattini’s humanist vision on De Sica’s films. Zavattini’s ideal film was one that lasts 90 minutes and revolved around life of one man to whom nothing happens. For Zavattini, this was neorealism. This also means that the preferred narrative mode was realistic in the sense that fictional events are treated as real and without dramatization that would draw attention to their fictional character. The use of existing light resulted in naturalistic photography, implying that neorealist films can be compared to documentaries rather than to films produced in the studio. Film critic and theorist Andrė Bazin praised the neorealist movement based on the films of Rossellini – he praised the eliptic narrative structure, the discarding of plot, the emphasis of details, the unpredictability of characters’ motivations, the use of long takes, the preference of medium shots, and the avoidance of close ups [3]. EXTERNAL FOCALIZATION What is relevant here is the concept of focalization, particularly external focalization. Bal states that focalization has implications which surpass the field of vision limited only to the characters. She emphasizes the relation between the vision of the external focalizor and the particular world view which prevails in the story [4]. 283 S. Vojković A specificity, then, of the fabula in neorealist films is its reliance on extratextual information and segments of reality that are broader than that of narrative texts, as well as its reliance on the focalized world view. In this paper I will discuss examples of world cinema that have appropriated the humanist vision of neorealism and the ways in which this vision affects the structuring of the fabula. I will also consider the influence of narrative form and the fact that neorealist films tend to loosen up narrative relations. This can be noticed in the films of other cultures, most prominently in Chinese, Iranian, Indian, African, Mexican and Taiwanese cinema (especially the films of Hou Hsiao Hsien). Apart from internal and intermedial focalization, what is crucial for the critical narratological approach is external focalization, which is on a higher level than internal focalization because it does not condition identification through the characters alone, but through a certain world view, as well. External focalization is relevant for the examples of films I have mentioned, because it urges us in the first place to identify with a concrete world view. Just as the subject has an advantage over the object, and the one who is the external focalizor has an additional advantage, the external focalizor is always the one that remains hidden and has a greater advantage. In the narratological sense, this is a question of narrational authority, a narrational instance which is hierarchically on a higher level, higher than the narrational instances which function as internal focalizors. In principle, the events are represented by the vision of the world that pertains to the external focalizor; in other words, a certain world is represented through this vision. This vision encompasses all other visions. The vision at stake here is the humanist vision. WORLD CINEMA First of all, it is useful to consider the implications of the notion “world cinema”; if we consider the existing studies of “world cinema”, we will see that there are three approaches in question. In the first instance, world cinema refers to “third-world” and postcolonial cinema, which was previously called “third film”; at the same time, this means that Hollywood film can be taken as the first cinema, and European films fit into the category of “second cinema”. Some critics, such as Roy Armes, define the cinema of the third world in a wider sense, as a group of films produced in the countries of the third world. Paul Willeman talks about the films of the third world as an ideological project – films that relate to a concrete political and aesthetic program [5], regardless of whether they were produced in third-world countries. This film current emerges directly out of the Cuban revolution, Peronism in Argentina, and film movements such as cinema novo in Brazil. Third-world films and third cinema deal with politically colored cultural practice. In the late 1960s and the 1970s, which is marked by the victory of Vietnam over the French, the Cuban revolution, and the establishment of Algerian independence, the ideology of third-world films is crystalized in a wave of militant essays; Rocha spoke of the hungry cinema of sad and ugly films, Solanas-Getino focused on militant guerilla documentaries, and Espinoza called for imperfect films inspired by “low” forms of popular culture [6]. If on one level, the new cinemas of the third world overlapped with the new European movements, their politics were more left-oriented. The authors of third cinema valued alternative independent anti-imperialist films focused more on provocations and militantism than on authorial expression and viewer pleasure. New films were juxtaposed not only with Hollywood films but also with commercial traditions that were thought of as bourgeois, alien, or colonized.